Hughes, who was born in 1951 in Staffordshire, England, came to prominence in the early ’70s as a member of British funk-rock pioneers Trapeze. That led to a career-making spot in the commercially successful Mark III and IV lineups of Deep Purple in the mid-’70s, when he replaced Roger Glover and evolved into one of the band’s main songwriters, co-penning “Holy Man,” “You Keep On Moving” and “Burn.”

Before forming Black Country Communion with Joe Bonamassa, Derek Sherinian and Jason Bonham in 2010, Hughes released several solo albums; enjoyed a brief stint with Black Sabbath; collaborated with Gary Moore, Tony Iommi, Chad Smith and Pat Thrall; and appeared on recordings by Whitesnake, George Lynch, Richie Kotzen and Manfred Ehlert’s Amen — to name just a few.

Hughes was grounded during much of the 1980s due to his struggle with drugs and alcohol, as detailed in his autobiography, Glenn Hughes: The Autobiography, from Deep Purple to Black Country Communion, one of Guitar World’s Top 15 Books of 2011.

Black Country Communion have released two critically acclaimed studio albums — Black Country (2010) and 2 (2011) — with a new one in the works for 2012. Their first live album, Live Over Europe, was released February 28 and is a companion to the DVD of the same name, which was released in October 2011.

I caught up with Hughes last week, just as he was letting his dogs into his Southern California home. We discussed Black Country Communion, gear and Gary Moore, with a healthy serving of Deep Purple.

[[ Through March 31, enter to win an Epiphone Les Paul Special II autographed by all four members of Black Country Communion! ]]

GUITAR WORLD: Congrats on Black Country Communion’s new live album, which sounds incredible, stating with that opening bass riff in “Black Country.” We’ve also heard reports that a new studio album is expected later this year. What’s its status?

Well, I’ve got the songs ready, and more will be revealed soon. Let’s see what happens this year. I know we’re supposed to record in the summer.

What is the writing and recording process like in Black Country Communion?

With each album, I go into my place and write the majority of the music, then I take it in to Joe and Kevin [Shirley, producer] and we make the songs more “band sounding.” With this next album, I’ve had the luxury of being able to write for six months. With the first album I had six weeks, and the second one was about four months. But I’ve had a lot more time to write this one. If you look at Joe’s schedule, he doesn’t even have time to wipe his nose. I’ve been left as the keeper of the keys to write these albums.

In the last five or six years, I’ve been writing consistently every day of the year, even Christmas Day. It makes me feel like I’m doing something in order to grow. Some people might go to the gym and swim laps, but I write songs. Every single day, I write something new and record it.

Black Country Communion have a very classic rock sound, which is especially evident on Live Over Europe. Given your diverse history and your background in funk, what is it like writing in a 100 percent rock format?

Realize that my roots are rock music, although I did grow up listening to black American music, as Robert Plant listened to American blues music. Everybody’s got their story to tell. But when I embrace the rock hat, when I put it on two or three years ago, when I realized I’m gonna go and make really focused rock albums, it felt like wearing an old shoe. It was a perfect fit.

Every artist you interview, I’m sure they like to tell you, “I’ve done a little of this, I’ve swam in the blues waters, I’ve tried a little bit of funk,” they’ve even done a little opera or whatever. But the fact of the matter is I didn’t come back to rock for financial gain. I came back because it was supposed to happen when it happened. I joke to people in the press that I realize I’m not black, I’m actually white. But I’ve got these roots in black American music. I love it.

Would you say you were the driving force behind Deep Purple’s groovier sound in the mid-’70s?

That’s a great question — but no one put a gun to my head telling me to be me. I mean, if you study those records, like Burn [1974], which was where David Coverdale and I came in, replacing Ian Gillan and Roger Glover, we were brand new, fresh, living in this castle, writing the album. We’re getting along really well, as Ritchie Blackmore does with every new member that comes in -– he’s a great guy. The album was more what you would consider to be rock-focused and Deep Purple-sounding, with its majestic keyboards and Blackmore’s insane guitar playing.

But when Stormbringer [1974] was being written at that same castle, Ritchie didn’t come in with any songs. He came with only one track, one idea. So it was left up to David, John and myself to come up with the goods, if you will. And we started to write things that were groovier, more melodic. I really liked the direction of Stormbringer, but left to my own devices, I’m gonna be — you know — left to my own devices. I think it would’ve been silly for David and me to come into Deep Purple and ape Ian and Roger. It would have been pointless.

Am I the man who killed Deep Purple? I don’t think so. I think every band from that era, even if you look at Led Zeppelin, if you look at their first four albums, they’re extremely different from one another, and I’ve never made the same album twice. There are other artists who I shan’t mention — all good friends of mine — who have this one-dimensional sound, and it really works for them.

For me? I’m not driven by the mighty dollar. I’m driven by the artistic form of writing music that is different from the last album, while still keeping a focus on what the general direction should be. I don’t take responsibility for Blackmore leaving Deep Purple because of the music I was writing. If you look at the annals of Deep Purple, you’ll notice that Blackmore, every second or third album, would like to change the vocalist anyway.

When you listen to those albums, including Come Taste the Band [1975], you’ll notice they’re very much three different albums because, if you’re between 18 and 25, that’s when you’re really growing musically and spiritually, and I’m proud of what I’ve done. I’ve never been a one-dimensional rock artist. I can’t help myself.

Speaking of age, Paul McCartney recently said he plans on recording and touring when he’s in his eighties. Do you feel the same way?

I do, I do. Paul’s an example of a great songwriter who’s lived his life in a fishbowl, being so famous. He’s a true legend and a nice bloke; he’s obviously found unrequited love with this new gal from New York, and he’s in a happier place. Some people say the best songs are written when someone’s in pain. Yeah, I get that, but I think that song he sang on the Grammys [“My Valentine” from 2012's Kisses On the Bottom] was very good. I’m glad he’s got this resurgence and he’s doing what he’s doing, because without him, I wouldn’t be around. He was my first influence when I was 11.

HERE IS THE LINK FOR THE REST OF THE INTERVIEW

http://www.guitarworld.com/interview-glenn-hughes-discusses-deep-purple-gary-moore-bill-nash-basses-and-writing-black-country-communion?page=0,1

Since the band’s formation in 2010, they have released the acclaimed “Black Country” (2010) and “2” (2011) albums.

In a new interview with Artisan News, singer-bassist Hughes stated that he expects the musical direction of the band to continue in the same vein as the band’s second release.

“We just did two albums back to back, both successful records. And our live DVD is out now. We’re really, really happy with the progress of where we’re going musically. So we’re sort of on course now.

“It’s kind of a continuation… There’s gonna be some darker stuff on there, because the lyrics I’m writing are kind of dark. There may be some moments of drama in there, I like drama in the music. So the songs I have ready are definitely a continuation of [the first and the second albums].“

Hughes pleased to finish recording sessions after producer Shirley arrives just in time to stop blaze getting out of control.

Glenn Hughes is delighted that a fire in producer Kevin Shirley’s Malibu studio didn’t stop Black Country Communion complete recording work on their second album.

The blaze broke out in Shirley’s Cave establishment, where he’s worked with the likes of Deep Purple, Iron Maiden and Journey.

The producer says: “I opened up this morning to thick, acrid smoke and a sideboard aflame. Miraculously there were no guitars lost, no masters affected and the studio is smelly but otherwise okay.

“We lost some furniture and need a big clean-up, but this is what’s known as ‘dodging a bullet’. Along with a baby rattlesnake outside the studio door last night, I think it’s just too much energy in the Black Country Communion stuff.”

Hughes reports his supergroup were able to lay down the last tracks for a record due out this summer. He says: “We were so lucky that Kevin walked into the Cave just in time and no one was injured. What a crazy day.

“Making BCC 2 has been a wonderful journey. I started writing the songs last summer and they’re now born. It’s my proudest musical moment and Kevin’s the best producer I’ve ever worked with – expect the album in June.”

Last year Shirley was one of the driving forced behind the formation of BCC, which stars Jason Bonham, Joe Bonamassa and Derek Sherinian alongside Hughes. The producer is credited with the vision of putting the outfit together, and says: “In my mind they’re the best rock act of their ilk out there. Not that they’d challenge the mighty Iron Maiden for spectacle, but they do have 30 years of experience and material to draw from.”

Meanwhile, Bonham has been confirmed as Paul Rodger’s drummer on the Bad Company singer’s upcoming solo tour of the UK. Bonamassa’s new solo album, Dust Bowl, is out next month.

End result is is what I – and I suspect many others – wanted, a close up of the songs and solos and the sheer power of the finest straight rock band on the planet.

I was lucky enough to see Black Country Communion twice last year and |I can say that this DVD really does capture the band in full flow.
Anyone who knows the band will know the tracks: ‘Black Country’, ‘Crossfire’, ‘Save Me’, ‘Battle For Hadrian’s Wall’ – look at the two albums and you can see the tracklisting. But what you can’t see from the tracklistiong is the way that all four musicians play as a unit and how the individual performances add together rather than being subsumed in to the overall sound.
Just looking at Hughes and Bonamassa leaning into each other at the climax of ‘Song of Yesterday’ while Bonham is hammering out the power and Sherinian’s keys are creating a huge soundscape for them to play against you begin to understand BCC as a band rather than four superstars.
All over the DVD you see Hughes as the total Rock frontman, all poses and grimaces alongside his belting bassplaying but watch Bonamassa to see how it frees him to play when he isn’t worrying about being the vocalist as well and similarly watch Derek Sherinian to get a greater insight into what a great keyboards player can bring to a rock band.

The DVD is filmed sumptuously but the producers have kept to the job of getting Black Country Communion over as a live outfit and satisfying the thousands who weren’t luckey enough to see them live: Job done and very well at that.

For one night only, on Tuesday November1st 2011 at 7:30pm, participating Vue Cinemas will screen Black Country Communion’s debut concert film “Live Over Europe” in high definition and Dolby 5.1 surround sound.
This one-off rock & roll cinema experience will feature an exclusive filmed introduction from all four members of Black Country Communion, and by pre –booking tickets via www.myvue.com/bcc, you will be automatically entered into a prize draw to win a guitar, signed by the band.
There is a signed guitar up for grabs at each of the 16 participating cinemas nationwide. The full list of participating Vue Cinemas is as follows:
London West End
Cambridge
Oxford
Portsmouth
Exeter
Bristol
Doncaster
Leicester Hull
Leeds
York
Birmingham
Edinburgh
Dublin
Bury
Swansea

The four-piece band, who released their second album earlier this year, won breakthrough act of the year.

The band also includes Dudley-born drummer Jason Bonham, son of late Led Zeppelin drummer John, guitarist Joe Bonamassa and keyboard player Derek Sherinian.

Hughes tweeted “sweet” after the band’s award was announced at the ceremony at the Roundhouse in London. Black Country Communion played their debut gig at Wolverhampton Civic Hall last December in front of 3,000 fans.

Other winners were Manic Street Preachers, celebrating their 25th anniversary, and picked up the classic songwriters award, while guitarist Jeff Beck collected a living legend award for his lifetime achievements.

The Classic Rock Roll Of Honour also recognised the achievements of a string of luminaries including Steve Winwood, former Pink Floyd star Roger Waters, Deep Purple and Jethro Tull.

Legendary bassist/vocalist Glenn Hughes (Black Country Communion, Deep Purple, Black Sabbath) has announced his first U.K. solo acoustic tour.

Billed as “An Evening With Glenn Hughes,” the 5-date run this November will featuring acoustic interpretations of songs from Hughes’ extensive career, set to enthrall not only hardcore fans, but anyone with even a passing interest in the life and times of a modern day rock legend.

Glenn Hughes
“An Evening With Glenn Hughes”
Solo acoustic tour

Nov 14 – Leicester Square Theatre – London, UK
Nov 15 – Glee Club – Birmingham, UK
Nov 16 – Glee Club – Cardiff (Wales), UK
Nov 20 – Glee Club – Nottingham, UK
Nov 22 – Band On The Wall – Manchester, UK

Last week – on the electric side – Black Country Communion announced the October 24 release of the band’s first concert DVD, “Live Over Europe” (Blu-ray to follow November 15).

The 2-DVD live set was filmed with 14 HD cameras and 5.1 surround sound during the band’s debut tour in the summer of 2011. Over three nights, playing to packed venues in the German cities of Hamburg, Munich and Berlin, the 18-song set list (17 originals and 1 cover) hits on both of BCC’s albums – 2010’s debut and 2011’s sophomore release. Bonus features include an exclusive 28-page collector’s booklet and DVD with a 20-minute “behind the scenes” featurette and photo collection.

“We saw that this live act could be an awesome force of nature to behold; one that promised legendary performances like those of our heroes of Classic Rock,” said producer Kevin Shirley. “The plan was to get them out there for the entire world to hear. Records allow a certain musical finesse, but live performance promises so much in the very transient nature of a gig; chances are taken, boundaries are crossed and the most exciting performances explode. Two studio albums built a repertoire big enough for a full concert which allowed us to unleash the monster for all the world to see and feel.”

Black Country Communion to Release Double Concert DVD “Live Over Europe” on October 24, 2011.

The 2-DVD live set was filmed with 14 HD cameras and 5.1 surround sound during the band’s debut tour in the summer of 2011. Over three nights, playing to packed venues in the German cities of Hamburg, Munich and Berlin, the 18-song set list (17 originals and 1 cover) hits on both of BCC’s albums – 2010’s debut and 2011’s sophomore release 2, which The Sunday Mercury praised, “This is classic rock goes large, an album that lives up to its heritage. It may not be bettered this year.” Live Over Europe highlights include the songs “Black Country,” “One Last Soul,” “Save Me,” “Man In The Middle,” “Cold,” and “Song of Yesterday,” which fans can sign up to receive as a free audio track download, available Sept. 8, here – http://bit.ly/bcclive. Bonus features include an exclusive 28-page collector’s booklet and DVD with a 20-minute “behind the scenes” featurette and photo collection.

Producer Kevin Shirley explains, “We saw that this live act could be an awesome force of nature to behold; one that promised legendary performances like those of our heroes of Classic Rock. The plan was to get them out there for the entire world to hear. Records allow a certain musical finesse, but live performance promises so much in the very transient nature of a gig; chances are taken, boundaries are crossed and the most exciting performances explode. Two studio albums built a repertoire big enough for a full concert which allowed us to unleash the monster for all the world to see and feel.”

BCC recently completed their debut tour, visiting a select number of cities in North America and Europe. On June 10, the band played to a near sold-out crowd in Anaheim, CA where The Orange County Register exclaimed, “The four members of BCC truly recast the heavy rock of the ’60s and ’70s and yank it into the 21st century as well as anyone in recent memory.” At the Wolverhampton Civic Hall, The Birmingham Mail called their performance “rip-roaring” and “breath-taking.”

As part of J&R Adventures’ strategy to use social media as an integral part of the initial marketing launch of Live Over Europe, they created the Facebook BCC Event Page. Facebook members can join the page here http://on.fb.me/loebcc to receive an exclusive glimpse of the new DVD and a chance to download the live free track “Song of Yesterday.”

In a letter written to Classic Rock and published in the Communication Breakdown section- I’ve been to a lot of gigs. Some have been extraordinarily special, like The Who at Charlton, or watching Thin Lizzy from the sidelines at Hammersmith during their Johnny The Fox Tour. But nothing prepared me for Black Country Communion at High Voltage – they were genuinely awesome. Their set was, for me, the highlight of the two days. God, they were good! I have a new respect for Glenn Hughes – a great voice and bass player of the highest order. Jason Bonham is one of the best drummers I’ve heard. Derek Sherinian was ace and Joe Bonamassa was clearly in his element in a rock band.

The Musicianship is all there and the quality of the songs is first class. WHen they ripped into Deep Purple’s Burn at the end, well I’ll admit there was a tear of joy in my eye. Two cracking albums – now we need a tour. The world needs to see and hear this band live. Thanks, Classic Rock, for the recent feature on BCC and for High Voltage, still the rock event of the year. You have a very happy subscriber! – David Lusher, via email

From The August 2011 Sonic Shocks

Supergroup Black Country Communion’s members need  no introduction. Two albums later, the golden rock combo of Glenn Hughes, Joe Bonamasa, Derek Sherinian and Jason Bonham consolidates its status as a band and effortlessly conquer the audience with their classic rock-blues sound. ‘Man in The Middle’ works a treat live, before paying tribute to Deep Purple with ‘Burn’ to end proceeding

Producer Kevin Shirley, who has worked with the Black Crowes, Aerosmith and Journey, was attending Guitar Center’s King of the Blues event in Los Angeles in November 2009 when he happened upon an inspirational sight – a jam session involving master blues guitarist Joe Bonamassa and legendary bassist and frontman Glenn Hughes.

The combination of the younger Bonamassa, who cut his teeth in the band Bloodline and has shared the stage with his mentor, B.B. King, and other great blues players, and Hughes, who, of course, is a veteran of the music world and has played with everyone from Ritchie Blackmore, Tony Iommi and Pat Travers, to name a few, literally struck a chord within Shirley.

After the jam, the producer threw out a proposition for the duo to form a band. Hughes and Bonamassa agreed and upped the ante by adding drummer Jason Bonham (Air Rise, Foreigner) and keyboardist Derek Sherinian (Alice Cooper and Dream Theater) to the lineup.

The result was Black Country Communion, named after Britain’s industral area that was once Hughes’ and Bonham’s stomping grounds. Last September, the quartet released its Shirley-produced, self-titled debut, which Hughes calls 1, to critical raves, including landing the No. 3 spot on Classic Rock Magazine’s Critic’s Album of the Year poll. The group was also named Planet Rock Radio listeners’ Best New Band of 2010.

Back in June, Black Country Communion unleashed a new disc, 2, also produced by Shirley, and took off on a world tour. Guitar World caught up with Hughes, via email, while he was chillin’ in the U.K., to talk about the new album, his career, basses and his book, Glenn Hughes: The Autobiography from Deep Purple to Black Country Communion, which Hughes co-wrote with Joel McIver.

Guitar World: When Black Country Communion’s debut album was released 2010, you had said the album was a milestone because it documented your return to straight-forward rock after playing funk for years. Was there another milestone passed with the repease of 2 last month? If so, what was it?

There are many milestones in life. My life centers around songwriting. As soon as I put my rock hat back on in late ’09, it was full steam ahead with 1. With 2, I was focused on continuing the path I formulated with 1. I’m not a coulda, woulda, shoulda guy, but I’m really happy I made my return home to rock ‘n’ roll.

Now that you’ve worked with the guys – Jason, Derek, Joe and Kevin – for the past couple of years, was it easier making 2 than it was making the first album?

Yes, of course. Being in a band of friends is super important. There is also a tremendous amount of trust, on both a personal and musical level.

Did you feel any pressure going into the studio to record 2 after the critical acclaim the debut album received? If so, how did you deal with it?

I love a challenge, and also understood where we were going musically. I wrote 20 ideas for songs for 2. I always like to have lots of sketches, although it never used to be this way. [These days] I don’t question it, I have fallen in love again with songwriting.

Throughout your career, you’ve played with an array of guitarists – Pat Thrall, Tony Iommi, Richie Blackmore, and, of course, Joe. How have they all influenced the way you have approached your playing?

I’ve been blessed to play with the greats. They have all influenced me in some way. Blackmore, Iommi, the late Gary Moore, Pat Thrall, the late Mel Galley, John Frusciante, Jerry Cantrell and now Joe. Joe is a beautiful human – -the real deal – honest as the day is long and plays guitar like no other. I’m proud that he is my partner.

Why was the bass your choice of instrument, and how old were you when you got your first?

My first choice — well, not mine — was trombone in the school orchestra, where I learned to read music. Then I heard the Beatles and the Stones, and Mom bought me an electric guitar. I played lead for four years and then switched to bass. One day someone suggested that I should sing, so I sheepishly stepped up to the microphone and the rest is rock history.

If you were marooned on a desert island and only able to have one bass with you, which one would it be and why?

I have more than 100 basses, but it would be my Bill Nash ’57 Precision Bass – the Dakota Red one I’m playin’ now. Hey, that bass is an icon all on its own! It rules! It blows me away!

In November, the paperback edition of your the book, Glenn Hughes: The Autobiography from Deep Purple Black Country Communion, will be released via Jawbone Press. Have you been thinking about writing a book for some time?

I was asked 20 years ago to write my autobiography, and I declined. It was five years ago when I started to write this one. I had to go back and dig some stuff up that was a little uncomfortable but was necessary to move foraward with my life. You only get to write your auto once, so I had to get rigorously honest.

As you reflected on your career for the book, what were some of the major highlights?

Learning in my early teens that I had a gift. I adored learning to play guitar, bass and keys, There’s also finding my voice, and meeting my mentor Stevie Wonder, who was very generous with his time.Giving back is a big thing in my life.

What were some of the challenges?

Playin’ bass runs and singin’ lead vox, is sometimes difficult, but I have three words for you: Practice, practice, practice!

Lastly, is there any advice you would give to a young bassist who wants to keep his integrity in the sometimes manipulative music business?

Listen to your inner-voice: Surround yourself with loving, nurturing people. Fall in love with your art and find yourself. Music is the great communicator.

This time around, the effervescent Jason Bonham stepped it up an extra gear (as if fourth gear wasn’t good enough) and the others nodded to the challenge until the result was teetering on rock heaven. The Michael Schenker Group also sensed the mood and Michael was just a little more chipper this time around. The audience responded emphatically to a more direct rock ‘n’ roll approach to proceeding.

A trawl around social media and our own extensive coverage of High Voltage will only confirm some of the superlatives I offer here. Talking of which, my fellow backstage passer, ‘Wolfy’ Smith from the Glenn Hughes forum reminded me that they had dropped ‘Faithless’ off BCC2 for the more up tempo ‘The Great Divide.’

Modern classics like the epic, ‘Song of Yesterday’ the Zeppelinesque ‘Save Me’ and the heartfelt ‘Cold’ stood out better with an extra rocker in the set. so by the time we get to ‘Sista Jane, the audience is primed for a good old headshake.

During ‘Ballad of John Henry’ I was reassured by the Mancunian audience that I was not the only anorak who noticed Tommy Bolin’s guitar signature on Billy Cobham’s ‘Stratus,’ greeted as it was with shrieks of genuine delight. A lovely touch.

BCC’s secret recipe consists of quality material presented immaculately on a bed of awe.

Bonamassa was sublime in delivery, Hughes the ultimate rock star, Sherinian providing a classical foil and Bonham in peak form. Black Country Communion have finally rewritten  the chapter on ‘supergroups’.

A way of gauging whether my own human emotions had got in the way of objectivity, I observed the body language of the audience. Eyes wide, mouths open, smiles, nods, head movement, clapping hands above heads and, above all, deafening cheers following each and every piece. ‘Song of Yesterday’ is surely an irony. This is a band of the now.

BCC’s secret recipe consists of quality material presented immaculately on a bed of awe.

In spite of having had the privilege of having worked for Glenn Hughes during the noughties, I still found it difficult to put into words to him after the show what a jaw dropping performance that was without sounding like Elmer Fudd. Inspirational.

As the most stunning version of ‘Burn’ I have heard since Caljam came to a tumultuous close, I concluded that it is almost criminal that this tour is nearly over. Although we have the consolation of knowing that the people of Norway will be the last to benefit. It’s all about perspective.

Review by Keith Thompson

The anticipation is palpable for Black Country Communion and , as thunder crashes and lighting flashes across the stage, the tension is shattered with the call of the “Black Country”. There is barely a pause for breath between this and drummer Jason Bonham bringing in One Last Soul, which is even better live than it is on the recording. Joe Bonamassa and Glenn Hughes make a powerful pairing at the front of the stage and they are really enjoying themselves. Bonham is as well, as claps us into the Crossfire from the new album, which has a heavier feel to it and is driven so seamlessly by the drums I’m willing to say I don’t know if I’ve seen live drums this good before! A Song From Yesterday has all the ingredients of the classic rock ballad with extra seasoning. There is a wonderful synth part in this one from Derek Sherinian which rises and falls with melodic poise as Hughes comes in with an outstanding dual vocal that is matched only by the haunthingly magnificent Bonamassa guitar solo that follows. This is the highlight of the night for me as this song has everything, light, dark and downright moody blues leading to a rocking finish. Jason Bonham ramps it straight back up to full throttle for I Can See Your Spirit and the rhythmical power he brandishes over the drum kit is evenly matched by the rampant rock riffs of the guitars, the synth and the fierce vocals. Audience favourite Save Me is up there with the best rock anthems of all time for me, and Sherinian must have a mention for the exceptional synth playing throughout this one, especially in the eastern-sounding breakdown moments. Cold is brought in with a heart wrenching blues guitar and beautiful synth. Derek Sherinian’s spotlight serenade is an outstanding array of intertwining contrapuntal melodies and rhythms. The encore Man in the Middle has hints of Aerosmith-inspired moments, and the energy levels are still riding high as the heavy riff leads them into the final number. Black Country Communion don’t hold back for the finisher: an electrifying cover of Deep Purple’s Burn that they deliver with gusto. Everyone is on their feet to show their appreciation and the cheers and applause is deafening “Thank you so much everybody we love you.” And we love Black Country Communion right back- a real rock band who really deserve our love and will have people coming back for more.

Claire Cameron

Black Country Communion,- featuring Cannock-born singer and bassist Glenn Hughes and Dudley-born drummer Jason Bonham, son of Led Zeppelin legend John – had the unenviable task of following the ultimate goodtime band Thunder, reunited for a one-off appearance.

But BCC showed during their hour-long set last night that they have the chops and the sounds to make a huge impact on the High Voltage crowd.

Taking in tracks from their two albums, including a superb Save Me and Song Of Yesterday, they wrapped things up with a rearranged version of guitarist Joe Bonamassa’s The Ballad Of John Henry and then a cataclysmic Burn from Hughes’ days with Deep Purple.

The latest rock “supergroup” is about to undertake a short UK tour in support of their latest album, 2, which was released last month. Combining the talents of Glenn Hughes (Deep Purple, Black Sabbath), blues supreme Joe Bonamassa, Jason Bonham and keyboard player Derek Sherinian(Dream Theater), the band quickly came together following the King Of The Blues event in November 2009, when Glenn and Joe performed together and decided they’d like to record something. Joe says getting together as a band came about quite speedily. “It was basically (record producer) Kevin Shirley’s idea.” he says, “Glenn and I wanted to do something, but couldn’t get around to actually doing it. We rang Jason, and Kevin suggested Derek, as I didn’t want us to be a power trio. We were in the studio five weeks later.”

The first, eponymously named album was released in September last year, reaching number six in the US Indie charts and number 13 in the UK.

The band, named after the region of the UK where Hughes and Bonham grew up, performed a couple of dates in Britain last year and are appearing at the High Voltage Festival at Victoria Park, London, on July 24, the same day as Sherinian’s band Dream Theater.

Joe Bonamassa is widely regarded as one of the world’s premier blues artists and he too has not long since released a new album. Dust Bowl, released last March, is his ninth studio album and reached number 37 in the American charts and 12 in the UK – his highest placings in either country. But, strangely, Joe was influenced not by the blues men of his native land (with the possible exception of B.B. King). “It’s a taste thing really,” he says, “I found European, and particularly British, blues a bit more loud and dangerous, The American stuff is a bit more subtle. “I’d describe our music as early ’70s British hard rock with elements of bands like Deep Purple, Free and ELP.” The blues seems to have come more into Black Country Communion’s second album, as the first was very definitely rock. There’s arguably a totally different sound. Joe says: “It’s a totally different batch of songs. The first album was put together very quickly and we had nothing left over, so we were starting from scratch. “The first album took five days to record, whereas this new one took two-and-a-half weeks, so we had more time to conventrate on the songs.” “We didn’t want to repeat anything from the first album and they are two totally different works.”

The live shows promise to be full of riff-laden songs, with musical virtuosity and all punctuated with Glenn Hughes’ gut-wrenching voice. Joe adds: “I have no idea at the moment which songs we’ll be playing. “We have two albums to call on, with songs of differing tempos, plus we have our respective catalogues there as well.” “Plus we’ll be doing it ‘old school’ with just the four of us on stage.” With only five dates (six if you count High Voltage), tickets will sell pretty fast, and because all four members of the group have hectic solo schedules – Joe will be doing a solo tour of the UK in October – it is impossible to say when they will be back, or when any new material will be released. “It’s really hard to say,” Joe says. “But we’ve nothing else really planned until late next year.”

Black Country Communion will be appearing at the Manchester Academy on Saturday, July 30. Tickets are available from the box  office on 0871 230 1101

By Martin Hutchinson

There’s something reassuringly old-skool about Black Country Communion. From the collection of four great musicians, to the honesty of their ballsy rock, right through to their decision to release two albums in the space of a year, it’s fair to say we haven’t seen their likes for a while.  Where we’ve got used to the two/three-year album cycle and studio recordings festooned with Pro Tools’ sleight of hand, Black Country Communion remind us that there’s a far more ‘proper’ way to go about the business of rocking.
Jason Bonham and his band mates – wunderkind guitarist Joe Bonamassa, veteran rocker Glenn Hughes and former Dream Theater keyboardist Derek Sherinian – have become musical crusaders of sorts. Pinning their flag to the twin masts of good songwriting and great playing, their second album – imaginatively (and traditionally) titled Black Country Communion 2 – is as modern, and as refreshingly retro, as their debut.
When we caught up with Jason, days before he boarded a flight to Europe with his band mates, he was keen to tell Drummer that he’d gone back to basics in more ways that one.

Drummer: Two albums from Black Country Communion in less that a year. Remind you of someone?
Jason Bonham: Ha! I know what you mean, but it was always the plan from day one. We wanted to hit the road with two albums in the can. And yes, it was also a nod to the management decisions of old, when Led Zeppelin came out at the beginning of the year and Led Zeppelin 2 followed at the end of the year. We did it slightly differently – ours were separated by two calendar years, but they were only nine months apart.

Drummer: There was also an old-skool attitude to the recording process as well?
Jason Bonham: Absolutely. We certainly didn’t mess about. We were back in the studio seven days after our first two live dates and recorded the whole thing in 10 days. We recored for five days, took the weekend off, did another five days, and that was it. It was recorded, mixed and mastered in that time. The first album was done in four days, so this was luxury in comparison!

Drummer: You seem a lot happier with this record?
Jason Bonham: I am, yeah. It’s definitely more of a drum album than the first. Kevin Shirley, who also produced this record, told me he wanted to focus a lot more on my playing this time around because he didn’t feel as if he’d captured me as a player. I’m very proud of my performances on the first album, particularly as it was done so quickly, but I always thought the drums could have been bigger. This time, and as Kevin says on the liner notes, he wanted to pick a room that would instantly convey my sound as a drummer. It was just a matter of putting the micas in the right place and getting a great take. There were no gates, no samples…just me. I’m over the moon with it.

Drummer: And the album also features one of your songs too – something you’d previously worked on with Jimmy Page and John Paul Jones …
Jason Bonham: I’m claiming ‘Save Me’ as my piece! When I was with Jimmy and John Paul, Jimmy asked me if I had an idea I wanted to work on. It was a riff that I’d had for a while, but having Jimmy work on it really brought it to life. I’d also collaborated with Robert Plant’s drummer, Chris Blackwell, on a separate idea, so I added an element of that too and showed the rest of the BCC guys in the rehearsal room. Within a day we’d finished the bones of the song, I sang Glenn a vocal idea which he finished off, Kevin came up with the intro, Derek came up with the chords for the chorus and Joe came up with the bridge and the brilliant playing. It was a wonderfully creative session and I feel very blessed to have brought this song to life from it.

Drummer: We also hear you’ve rewound the clock a little in terms of the kit you’re using?
Jason Bonham: Yes. It was the first time for a while that I’d been in the studio with DW drums. I also went back to my old set-up, which is three racks and three floor toms. I wanted to be Jason Bonham again. It was during my tenure with Foreigner that I switched to Dad’s set-up, and that obviously continued when the Zeppelin gig came up. Before that, I’d been with DW for 22 years, back in the day when it was just me and Jim Keltner using them. I ended up sitting down again with DW and drew up a kit that allowed me to pay tribute to all of my heros – from Chad Smith to Phil Collins to, of course, my dad. The only thing I kept from the Zep days was not putting any dampening in the bass drum – once you figure out how to get the sound you want and the soundman knows how to deal with it, it’s killer.

Drummer: Summer marks the first time Black Country Communion will tour extensively. Looking forward to it?
Jason Bonham: I can’t wait, We start in June and go all the way through to August playing festivals around Europe. It’s going to be a phenomenal summer for us. We swing back to the UK to play High Voltage before embarking on a proper English tour where Michael Schenker opens for us. After that, we head back to the States, so there won’t be a moment to rest. What’s nice is we’re nearly always second from the top on some of these festival bills, which is nuts for a band that’s never toured before. I’m also currently on tour in the US with my Jason Bonham’s Led Zeppelin Experience, where we’re playing to 1500 people a night. I’m so pleased . I can have my fun, play my Zeppelin music, but I’ve also got my own band too. I couldn’t ask for more!

First a little background. The rock supergroup Black Country Communion consists of Glenn Hughes (“The Voice of Rock”, Deep Purple), young blues legend Joe Bonamassa, Derek Sherinian (Dream Theater, Alice Cooper) and Jason Bonham (the son of John Bonham from Led Zeppelin.)

They performed at the Hampton Beach Casino on June 17, 2011. You know what they say about seeing a band live? There is either nothing like it in the world or it leaves you lacking. Suffice to say there was no lack in this act. I sat in a suite in back with a full view of the stage and from the start of the show the music took on a life of its own, bringing some of us back to the 80s, others to the 70s. Their sound melds both genres and decades together, pulling from heavy metal, the blues, British rock and bit of funk. They manage to combine that with a modern sound, which is an accomplishment that no other group has been able to master before.

It’s no wonder then, that the audience was drawn in right in from the moment Joe Bonamassa grabbed his guitar and played like the genius he is. With the exception of his “Ballad of John Henry,” (which is) truly a masterpiece of music by itself, he stayed in the background though, letting Glenn Hughes take center stage. There was a moment too, when Derek Jason traded a percussion solo with Sherinian finessing the Hammond B3 Organ with its haunting sound, calling out to the Gods, and Bonham channeling his father with sweaty fervor. But it was Glenn Hughes who ruled the roost, romping from one end of the stage to the other like the veteran rocker that he is.

Hughes, who put Black Country Communion together, was the star this night. His voice reached heights that few rock musicians can muster and he completely OWNED the stage with his flamboyant flair, strutting his stuff, making eye contact with the audience and handling his guitars like they were an extension of his body, if not his heart. Hughes, who was born to be a front man, stalked the stage at times with a grin or scowl on his face, reminiscent of Billy Idol, held his guitar up high and challenged the audience to cheer him on. And they did, time and again.

They started with songs off their first album, like “One Last Soul,” a heavy mid-tempo tune, and the audience seemed to feed off its catchy chorus. They eased into music from their new album Black Country Communion 2, seizing on to songs like the unforgettable “Save Me,” feeding the audience doses of 70s-infused rhythm. “Faithless” was guitar heaven, a moving, dig-down-deep dramatic song that was a highlight, thanks in part to Hughes’ remarkable range. The ballad “Cold” was a personal favorite.

Bonamassa shined with “The Battle for Hadrian’s Wall,” one of the few times Hughes didn’t load the stage with his larger than life persona and made-for-rock-n-roll voice. But the two guitarists bantered on stage and seemed to truly enjoy the interaction. That interaction, the two superstars having fun on this small stage, made the show radiate with youthful energy. They have a chemistry that is undeniable; the brooding, dark whiz kid in Bonamassa playing off the spark lit by the fiery and dynamic bass player-turned from man Hughes. And when they sang together it was magic. “Song of Yesterday” highlighted their vocal harmony perfectly. They harmonized off one another so well, it was like they’ve been doing this their whole lives, and in fact, they have. Bonamassa has been performing since he was twelve and Hughes has been around the music world for some thirty-odd years. Together they ripped clean, polished vocals; if there can ever be such a perfect thing in rock and roll.

It was one for the record books at the Hampton Beach Casino Ballroom. The show ended with a rally, the audience clapping furiously and chanting “Man In The Middle!” (their most recent single off their new album) and “B (stomp) C (stomp) C!” The band delivered, and the crowd was on their feet when they erupted with a blistering encore featuring the funk-driven rocker “Man In The Middle” and a blast from the past with “Burn!” from Deep Purple. In a twist, Hughes applauded the audience and thanked them for coming. It’s always nice to see a band appreciate their fans but I’d like to take the liberty here to applaud the “Voice of Rock” and his supergroup for memorable show that is now written into Casino Ballroom history along with those long ago shows of Janis Joplin, Led Zeppelin and the like.

by Lisa Martineau

http://www.unionleader.com/article/20110618/NEWHAMPSHIRE01/110619913

http://www.bbc.co.uk/radio1/chart/rockalbums

Black Country Communion 2 was released on June 14, 2011, just nine months after the initial release by the band comprised of Joe Bonamassa, Glenn Hughes, Derek Sherinian, and Jason Bonham. It’s a positive step when a supergroup releases a sophomore record within a year after the debut, primarily because it shows that they’re still seriously motivated about the overall venture, It’s unusual, as statistics have shown that many of these bands lost interest quickly, and obstacles and personal issues get in the way. Obviously this band is keyed up, which means fans are keyed up too.

Produced by Kevin Shirley again, for Bonamassa’s J&R Adventures label, one listen is enough to confirm that it wasn’t a hurried sophomore production. The music is theatrical and grandiose, and awash with intricate hard-rock arrangements that are powerful and exciting, all possessing the energy of the live arena. Thought Hughes again performs a good portion of the vocal work, Bonamassa has his share. Both excel in the harmony department, and the riff flow between guitar and bass is solidly parallel and syncopated, thriving and thunderous. Derek Sherinian’s keyboard mastery has a palpable presence here as well, with ample keyboard sounds and timbres, more so than on the first album. Along with a dynamically fluid B3 sound are those that are more potent and orchestral, and Jason Bonham’s percussive drive is utterly amazing throughout.

Monster licks dominate most of the eleven songs, starting immediately with the opener, “The Outsider.” No doubt a good start, as the thriving metal arrangement highlights the band as a whole: incredible licks and chops, amazing vocal roar, astounding keyboard segments, and thrash drumming. The follower, “Man in the Middle,” is coerced along as well by an amazing twofold riff that’s thunderously bassy and hypnotic. “Save Me” continues in the mold, as does a good portion of the album, all with extraordinary melodies and ever-flowing sonic arrangements that twist and turn with abundant changes. They’re often reminiscent of the extraordinary effort bands like Deep Purple and UFO once put into their brilliant arrangements, as the songs are extravagant and progressive. Through common attributes of music recorded with today’s technology, Pro-Tools and the like, this is a group of musicians who are used to performing intricate arrangements in the live setting.

Standout tracks dissimilar from the aforementioned are “The Battle For Hadrian’s Wall,” which features Bonamassa on vocals. Possessing an acoustic introduction with a Zeppelin feel, dreamlike and surreal in essence, the lyrics focus on the still existing wall built by Emperor Hadrian almost two thousand years ago, renowned at the time for being the most fortified border in all of Great Britain. “Little Secret” is an explosive British style slow blues. Hughes’ lead vocal is passionate and heated. Boisterous and bluesy throughout the verses, Bonamassa then tears it up in an emotional solo. The brilliant sophomore release comes to an amazing close with a passionate ballad entitled “Cold.”

BCC2 is an honorable addition to both classic and modern-day rock and roll. The virtuosity exhibited by these four extraordinary musicians is powerfully exciting and incredibly accomplished. BCC appears to be a supergroup fans can take seriously, maybe more so than the others out there. Not only do they appear to be having fun, they seem to enjoy the extra effort it takes to create good rock music.

by Brian D Holland

http://guitarinternational.com/2011/06/15/black-country-communion-2-album-review/

Black Country Communion reminds me of those times like no other rock band has in the last thirty odd years.

When we last visited them, it was only September of 2010; guitarist Joe Bonamassa, bassist Glenn Hughes, keyboard player Derek Sherinian and drummer Jason Bonham released a debut album of all-new material mere months after announcing the formation of this supergroup. Unlike most supergroups that fall short of mighty expectations, BCC delivered on the promise, easily making the Mainstream Best of 2010 list as the only hard rock entry.

This band provided the right vibes for anyone who loves the classic hard rock sound of the 70s, from Boston and Led Zeppelin to Hughes’ old bands Black Sabbath and Deep Purple. Evidently, the vibes felt good for the boys for the boys in the band, too, because before their first album hit the streets, they were already back in the studio making their second one. That’s the record that releases today in the UK and tomorrow in the States, modestly called Black Country Communion 2. It’s an accurate label, too, because it could have easily been Disc 2 of the first record. That’s my assessment in a nutshell, but I’ll elaborate, anyway.

The members of BCC don’t dress extravagantly or look so outlandish; they have a meat-and-potatoes image. Not that any of it matters, but it speaks to their music, too: there are zero gimmicks with this crew, just straightahead, head thrashing, hook-em-horns rock. If there’s any calling card at all, it’s that they do this kind of music so well. Producer Kevin Shirley, the unofficial fifth member, is behinds the board again making sure the sound is captured by the technology of today buy spirit of yesterday.

Like the first LP, this one begins with a showing off of the massive firepower from all the guns of BCC: “The Outsider” showcases the rumbling bass of Hughes, the authoritative pounding of Bonham and the thrilling unison runs of Bonamassa and Sherinian. Shirley had intended to make sure all band member got “a unique opportunity to shine,” and even more so than the earlier effort, this comes across genuinely like a group of egoless team-oriented crackerjacks. A good start, but the next seven tracks make up the album-spanning sweet spot of the album.

“Man In The Middle” (official video below) is a trick piece of the funk-blues-rock that put Aerosmith on the map, and the band is tighter than the skins of Bonham’s tom-toms. Bonamassa’s menacing riffs, Sherinian’s tactical synth chords add depth to the killing-it pulse of Bonham.

It’s Hughes, not Bonamassa, whois probably the most impressive member of the group, because he is regularly doing two things and kicking ass in both areas. His powerful, high register vocals easily soars over the metal din, and he’s one of the most genuinely soulful singers of the genre out there. At fifty-nine years old, his voice has never sounded better and is still the model for those a third of his age. But the man Stevie Wonder once called his favorite white singer, Hughes isn’t just the Voice of Rock, he’s also a very nimble bass player; his melodic, McCarthey-esque lines dancing around Bonamassa’s acoustic guitar on the Bonamassa-sung “The Battle for Hadrian’s Wall” is one example where his low end boosts the polyphony of a song.

“Save Me” sounds like Zeppelin, but unlike other Zep-like songs, this one actually had its genesis with that iconic band. Bonham hung out with Jimmy Page and John Paul Jones for a few months in 2009 following a LZ reunion concert, and it appeared that the band might reform with new material and a tour until Robert Plant backed out. But the younger Bonham brought the tune to BCC and finished it out with them. It’s a real showcase for the drummer, who propels the song with “Kashmir” thunder. Hughes even growls like Plant spots, and Sherinian applies the mystical Middle-Eastern feel. Bonamassa, however uncorks a diabolical solo that might be his best of a loaded bunch dispersed throughout the album.

It doesn’t let up after that: “Smokestack Woman,” “Faithless,” “I Can See Your Spirit” and the second Bonamassa vocal feature “An Ordinary Son” are all solid songs that don’t sound alike, and most of the time the band is in overdrive. The slow, aching number “Little Secret” pays its dues to the blues, something Bonamassa knows a little bit about, but the band never abandons anywhere else (“blues-based” is another thing I fondly remember about those classes hard rock bands).

It’s hard to find fault with a band that does everything so well; I suppose you could say they sound more like an amalgamation of some of the best hard rock bands from the day than having a distinct soundprint. But, so what. BCC may not invented any new formulas but they are executing the old ones closer than anyone else to perfection. A second solid record in a nine month span makes Black Country Communion a rare treat of both quality and quality.

by S. Victor Aaron

It was over 40 years when “the voice of rock” Glenn Hughes was at the epicenter of the rock explosion from middle England. He found success with the blues rock band Trapeze and went on to join Deep Purple and Black Sabbath (on the Seventh Star album, technically a Tony Iommi solo project) and sell countless albums under his own name.

He has now found yet another winning combination in his latest band Black Country Communion. He talked with me while still in his rock star PJs, just before BCC heads out on tour. He immediately radiates cool and positive vibes. “Just letting the dog’s out. What’s going on, mate?”

Geeks of Doom: How did Black Country Communion come together?

Glenn Hughes: Joe [Bonamassa] and I were playing at the House of Blues about 18 months ago. Kevin Shirley [BCC producer] was there and he thought it was insanely good and he thought Joe and I, instead of doing a duet album, we should form a rock and roll band. The likes [of which] haven’t been seen for 20, 30 years. And that’s what we did.

Geeks of Doom: Are you comfortable with the ‘Supergroup’ tag?

Glenn Hughes: I think it’s what people will call any artists that get together that have had success. I think every member of the band…has sold a lot of records. Joe’s the new guy in town, Jason’s the son of John [Bonham, Led Zeppelin drummer], and now Jason gets to be to have his own unique vibe now. And Derek Sherinian was in Dream Theater, a really great progressive rock band. You know, you’re going to be called a supergroup I think until people get tired of it.

Geeks of Doom: Your second album, 2, comes out here in the UK on June 13th. But reviews are already coming in and people are saying already it’s the album of the year, One journalist even said it was one of the best albums he’s heard in 10 years. Are you happy with the album?

Glenn Hughes: Yeah. Dan, I’m going to tell you…it’s life and death to me. I know rock and roll is supposed to be fun and tongue-in-cheek and about girls and about this and…for me it’s fucking life and death. I mean this album for me when I look at the lyrics I wrote and how dark this album is, it’s really a statement. It’s really a diary of the stuff I’ve lived through my life. I’ve had a lot of stuff to sing about, you know? You probably know a lot of it; there were some dark moments for me and I wanted to draw from those moments, to sing about them on this record. And listen, I’ll take the kudos with the band for this record because we really worked hard on this album. As you know second albums can go down or be really good so I think we’ve captured the essence now.

Geeks of Doom: This will be your second album in 9 months, which is a call back to the ’70s when bands were putting out 2 albums a year. Was that something you planned beforehand?

Glenn Hughes: We knew we were going to tour this summer, we start this week in San Diego. We knew we were going to do a lot of big shows and rather than have one album to play on we wanted to have two. We had a meeting last summer and the band or Kevin and Joe asked me if I would write [BCC] 2. Joe has been very busy, you know his tourography is very strong, and I just took four months off touring with my own band to write the bones of this album.

Geeks of Doom: So do you and Joe share the songwriting usually?

Glenn Hughes: It’s mainly me on this one and Joe comes in a the end and adds his thing on it. Put his stuff on it, you know. I wrote 10 of the 11 songs alone and at the end Kevin and Joe come in and put their vibe on it.

Geeks of Doom: I want to ask you about your new radio show which premiered last night. I listened to it, it was very good.

Glenn Hughes: Thank you!

Geeks of Doom: Were you pleased with the response?

Glenn Hughes: You know, I did hear it and I never thought I would end up doing this. A lot of my friends, I mean Joe and Alice [Cooper] and Joe; the two Joes – Elliott [Def Leppard] and Bonamassa have both got shows on Planet Rock and here I am now. I’m like the new guy doing the same thing and it’s really interesting. I think the good people at Planet Rock wanted me to come in and they know I’ve got a lot of stories and they know my history and they know the songs that I really liked when I was growing up. So I think it’s great to play the songs that influenced me when I was young and of course later in the series I’ll be playing a lot of newer stuff from new bands. But I get a chance to pick postcards from my life really and share. It’s interesting.

Geeks of Doom: How would you describe the show to someone who hasn’t heard it yet?

Glenn Hughes: Eclectic. Yeah, I think it’s very eclectic. I mean, it’s going to be rock music. A lot of people that know Glenn Hughes know that I have a really keen fondness for black American music. A lot of my friends…are black American soul artists. But I’m really concentrating on what influenced me as a rocker growing up in the UK and of course it was Hendrix and the Beatles and the Stones, you know, people like that. There’s going to be some eclectic stuff in there; Jeff Buckley will be in there and there will be some stuff that no one’s heard. I get a chance to play stuff that I want to play which is really cool.

Geeks of Doom: There was a good mixture; you had Free, Led Zeppelin, the Jeff Beck group the new Black Country Communion song as well…

Glenn Hughes: Yeah [laughs]

Geeks of Doom: … The Band. It was a real good mixture.

Glenn Hughes: As I was hearing the show, Dan, I was thinking, “I wonder if people are going to get this?” Because I think the demographic of my show or radio Planet Rock is around 30 to 40 year olds. There might be some younger, I don’t know. But, you know, like I said, I’m playing stuff that I want people to know influenced me. In the early part of the series, at least. Before I get to the newer stuff.

Geeks of Doom: Will you be playing more of your own stuff?

Glenn Hughes: Yeah I think so. I think I want to do some stuff that hasn’t been played before on the radio, some stuff that is important to me that tells a story. Because, obviously, my show’s going to be about stories. Some are going to be gnarly, and some are going to be beautiful, and some are going to be about insanity and the list is endless really.

Geeks of Doom: You told a great story last night about your mum having to inform ELO that you wouldn’t be joining them.

Glenn Hughes: Yeah [laughs] true story. Woody [Roy Wood] was after me for 2 years. I was still a teenager and I just didn’t have the heart to tell him [that i would turn down the offer to join the band] and my mum told him in the end. It was kind of funny! True story!

Geeks of Doom: [laughs] What did she say, you’ve had a meltdown?

Glenn Hughes: [In a high-pitched Brummie accent] “He’s had a bloody meltdown!” Yeah of course [laughs] And I probably would because Don Arden who managed [them], you know, Sharon Osbourne’s father… he was a very famous character. In your father’s time, back in the ’60s, he was a scary guy. He managed me for a while as well so I know about him. He’s passed away since, God bless him.

Geeks of Doom: Ozzy talks about Don in his autobiography and he does sound like a very scary man!

Glenn Hughes: He was a scary man and he scared the bejesus out of me! He was a tough, tough guy. Scariest guy I think.

Geeks of Doom: You’ve been making music for over 40 years now which is quite amazing…

Glenn Hughes: I have, yeah.

Geeks of Doom: You cemented your place as one of rock’s finest a long time ago. Now you’re working with one of the new guys, Joe Bonamassa. What do you think of him?

Glenn Hughes: Well, I’m saying this to you hand on heart, I’ve played with most of the great guitar players. I met Jimi [Hendrix] I didn’t play with Hendrix but I met him. So I’ve played with pretty much everybody and I can say Joe Bonamassa…Joe will tell you this to your face, Joe’s giving you what you’ve heard before. He giving you a little bit of Paul Kossoff, he’s giving you some Pete Townshend, he’s giving you some Eric [Clapton], he’s giving you some B.B.[King]. He’s giving you a little Eric Johnson. He’s giving it you back and he’s the first one to raise his hand up and I admire him for that. But Joe plays it really, really well. His father weaned Joe on a heavy dose of Zeppelin and The Who when Joe was 5. I met Joe’s father and mother and they’re big fans of mine so it was kind of [an] interesting antidote to see their son is playing with one of their heroes. It’s kind of cool. I mean Joe’s a lovely, lovely young man, very talented and head screwed one. It’s all about the music for Joe.

Geeks of Doom: I’m a big fan of his too, I think he’s great.

Glenn Hughes: He really is.

Geeks of Doom: Another great guitar player you played with was Gary Moore who very sadly passed away earlier this year. What are your memories of him?

Glenn Hughes: Well, Gary Moore lived in my house in 1980 when he left Thin Lizzy. He left Thin Lizzy in mid-tour and he moved into my house. He ran away from the band until Phil [Lynott] was looking for him. I told Phil he wasn’t at my house. Gary and I started to form a band and it didn’t happen. I joined his band in the mid- ’80s and we fell out and let’s just say I wasn’t the man I am today. It was a sad occasion that Gary and I fell out but we made friends again in the ’90s and I was very distraught to hear about his passing. He was a very, very, very, gifted guitar player. Probably the finest blues rock guitar player Britain’s every had.

Geeks of Doom: Absolutely. I agree with that. I read that you tend to pick people to work with now not only based on their musical ability, but also what they’re like as a person. You said you like to be around loving and nurturing people, which is a refreshing change when a lot of rock stars are seen to be chasing money.

Glenn Hughes: You know, for me, if you look back again at the iconic bands of the ’70s: The Beatles, Stones, Zeppelin, Purple, Sabbath, the Who, Yes, Genesis, [Pink] Floyd. Those 9 or 10 bands, if you look at the history of each band, you will know that one guy was shagging the other guy’s wife, there was a lot of drug use, a lot of fist fights. I’m talking every band there. [With] every band there was some kind of horrible stuff going down and I didn’t want to be in a band like that again. Before I actually formed this band I actually wanted to find out about these people who I was actually going to potentially work with. I wanted to speak to their managers, I wanted to meet with them for dinner. It’s really important to me. I haven’t been in a band for years and years and to travel with these guys, they’re all great guys really. I’ve known Jason since he was like 2 years old.

Geeks of Doom: Are there any musicians you haven’t worked with yet that you would like to?

Glenn Hughes: I think there are a couple but i’m thinking they might not be nice! [laughs] So I’m not going to bother with it. Let’s just say I’ve played with a lot of amazing guys and I’m very fortunate to have gone down that path.

Geeks of Doom: Fair enough, Do you keep in touch with any of your Deep Purple Bandmates?

Glenn Hughes: [laughs] I know where you’re getting! I know where you’re going!

Geeks of Doom: [laughs] I’m not going to say anything about Mr. Blackmore if that’s what you’re thinking! [laughs]

Glenn Hughes: Look, I’ll tell you the truth. I never really speak about this unless somebody digs into it like you are right now. David Coverdale and I…I joined the band 3 months before he did. He had never been on stage before and I had actually been on stage with Trapeze for 3 years in America and we befriended each other. We’re both from the north of England; he’s from Yorkshire, I’m from the West Midlands. The rest of Purple were established, you know, Jon Lord and Ian Paice and Ritchie Blackmore were established. I left the band so many years ago and I don’t have any contact with anyone other than David. I haven’t actually spoken to Blackmore or seen him since 1977. To be in a band for 3 years, 3 years, and to not have any sort of like Christmas cards or “hello,” “fuck you,” or anything, it’s bizarre. It’s bizarre and so I get all the love I need from that band from David Coverdale. We are such good friends. He makes me howl with laughter! We speak to each other via internet daily; every single day. There’s not a day goes by I don’t speak to David, so I get all the love I need from Deep Purple from him.

Geeks of Doom: Have you heard the latest Whitesnake album, Forevermore?

Glenn Hughes: I’ve heard bits and pieces, yes. I’m happy for him because…I can say this to you, he’s making records for his marketplace. So he’s doing what he needs to do.

Geeks of Doom: You mentioned you’re from the West Midlands here in England and when you were in Trapeze there was also Black Sabbath, Judas Priest, and Led Zeppelin all from the same relatively small area. Was that an exciting time to be starting a band?

Glenn Hughes: It was and when we listen back to, well…[John] Bonham was born in the Black Country [an area of the West Midlands of England] as well so when you listen back to Zeppelin’s, Sabbath’s, Priest’s, and Trapeze’s music you’ll hear this very iconic industrial beat. It’s very heavy and dark and its sort of working class. Let’s be clear, all the guys I’ve just mentioned went on to have success and fame and fortune but we all come from blue-collar families and very proud of it. So there’s definitely, I think, there’s definitely a Black Country sound and I think that sound embodies our band. I asked Joe Bonamassa, “Can we call the band after a homage to the area where I was raised?” And he had no problem with the Black Country because he knows all about the Black Country. So Joe gave us the thumbs up which was really sweet.

Joe’s a real historian. I think if you listen to [The Battle For] Hadrian’s Wall and stuff that he writes for us, if you listen to what Joe’s writing Joe’s really up on his rock and roll story. He knows where John Bonham was born and buried, he knows where Robert [Plant] was born and where I was born.

Geeks of Doom: Black Sabbath, Led Zeppelin, and Judas Priest: were you aware of each other when you were starting out?

Glenn Hughes: Oh god yeah. We opened for Sabbath – I’m talking Trapeze – in 1970, can you believe that long ago?! We opened for them and I soft of befriended the guys then. But I really, really befriend them in ’74 when we did the Cal Jam together [with Deep Purple], the California Jam. That’s where Ozzy and I and Tony [Iommi] because really great mates and of course when Ronnie Dio was in the band all those years later I actually sort of helped get Ronnie into the band anyway. So I was around a lot of the time when they were making Heaven and Hell. Judas Priest, they were called The Flying Hat Band before Judas Priest. They opened for Purple on a couple of shows in ’74 as well so I’ve known those guys a long, long time. And I’ve known John Bonham and Robert forever. I knew Robert before he was in Led Zeppelin.

Geeks of Doom: You worked again with Iommi on the Seventh Star Album.

Glenn Hughes: Yeah and Fused. I love Tony very much. One of my dearest, dearest, dearest friends. I love him to pieces.

Geeks of Doom: You could make quite a dream team Black Country band – you, Iommi, Robert Plant, Jason Bonham.

Glenn Hughes: Oh yeah! [laughs] We could! It definitely would be great, looking at it on paper, yeah.

Geeks of Doom: And K.K. Downing as well who recently left Judas Priest.

Glenn Hughes: I love Kenny, he’s a great guy. I love him to pieces.

Geeks of Doom: Do you still go home to Cannock where you were born?

Glenn Hughes: I do! I still go back to Cannock. I was there last week, last weekend. I was playing Birmingham Town Hall and I saw mum and dad. Every chance I get if I get a day free…I go up to seem them.

Geeks of Doom: Cool. Are you excited about the HIgh Voltage Festival?

Glenn Hughes: I am, I am. We’re all excited about it. We start our tour this week in San Diego and we’ll be like 6 weeks into it by the time we get to England so we’ll be firing on all cylinders. We were made to play festivals. This band is a festival band. The new record and the last record are stadium kind of songs any way.

Geeks of Doom: Absolutely. Look may it continue. You’re sounding great all of you and thank you for your time, it’s been a pleasure talking to you.

Glenn Hughes: You’re Welcome, mate. Have a good day.

by: Obi-Dan

And so it was Friday night, as Black Country Communion headlined City National Grove of Anaheim before a near-capacity crowd, timed just before the release of the quartet’s sophomore effort, imaginatively titled 2 and expected in stores and online on Tuesday, June 14.

The group’s 16-song set was comprised mostly of original material, even if there is a good argument to be made that the sonic stamp of Led Zeppelin and Bon Scott-era AC/DC, not to mention Sabbath and Deep Purple, is all over their music. Yet, rather than be swept away by the nostalgia of their influences, the four members of BCC truly recast the heavy rock of the ’60s and ’70s and yank it into the 21st century as well as anyone in recent memory.

The key to the band’s unique style is how they take the classes sound of early British rock and inject it with a hearty dose of the blues. The group’s especially strong performance in Anaheim showcased that winning approach, with highlights built around haunting moods (“Faithless”) and infectious (“Sista Jane”). All four skilled players deftly brought those elements together without overplaying even the heaviest of songs – not an easy task when all of them have spaces to solo.

Hughes handled the majority of lead vocals, his high tenor used to good effect throughout the show. But his singing with Bonamassa on “Song of Yesterday,” and the latter’s lone voice on his blues rocker “The Ballad of John Henry” further broadened the overall approach.

I’ve seen Bonamassa perform several times over the past several years, but it never gets old watching the 34-year-old New York native tears up on his array of axes. Many guitarists can play fast, countless others deliver obvious feeling, but only a handful of living masters somehow have the intangible ability to play with the power, speed, passion and originality that Bonamassa displays whenever he takes the stage.

The magical night flew by – but didn’t end until the band charged through a high-octane version of Deep Purple’s “Burn,” giving the relatively intimate Grove into the feel of a huge arena.

by Robert Kinsler(Credit Image: © Valerie Nerres)

BCC- Man In The Middle

Jason Bonham and his supergroup Black Country Communion (BCC) launch their first tour in Wales this summer – and with it, the drummer hopes, an identity in the UK.
The son of legendary Led Zeppelin stickman John Bonham – who defined hard rock drumming and the hard-living lifestyle before his death in 1980 – has forged a formidable reputation of his own since following in his father’s foot-stomping footsteps.
He’s the drummer of choice for former Free and Bad Company frontman Paul Rogers and the only person Robert Plant, Jimmy Page, and John Paul Jones wanted to fill Bonzo’s seat when Zeppelin reformed at London O2 arena.
He was also the first man to whom blues rock guitar phenomenon Joe Bonamassa and Deep Purple’s Glenn Hughes turned when they formed BCC in 2009.
His Jason Bonham Led Zeppelin Experience project – which he hopes to bring to the UK in December – has raised his profile.
Yet he remains a relative unknown this side of the Atlantic. That could change with BCC’s second album, 2, and a tour, which begins at Llandudno’s Venue Cymru Arena in July. “I’ve never had any real success in my own country and it just feels nice now to have some credibility in the UK,” aid the 44-year-old. “The hardest thing is being the son of one of the most influential drummers of all time. You are never going to get away from it.
“John Bonham was as important to the drumming world as John Lennon was to the music world. He was an icon. When you say Lennon you think of John rather than Julian, it’s the same when you think of Bonham.
“A lot of people don’t get it until they come and see me. There’s a lot more to me than just being John’s kid. Hopefully, I can show people what I’m about and what I can do.”
And the visit to North Wales will be a trip back to his childhood. He added: “I spent a lot of time in North Wales growing up, particularly Machynlleth. The mayoress was a good friend of the family. I used to race dirt bikes there. The Welsh have a very warm place in my heart and I’m looking forward to being out there.”

Anglo American quartet Black Country Communion raised several eyebrows when they made their debut in the spring of 2010. Fronted by former Trapeze and Deep Purple vocalist/bassist Glenn Hughes, joined by fellow Midlander Jason Bonham on drums the lineup is completed by Americans keyboard player Derek Sherinian (Dream Theatre) and guitarist Joe Bonamassa. Shrugging off the quaint but also vaguely irritating so-called “supergroup” tag, the band quickly established themselves as a force to be reckoned with, their eponymous debut LP scoring a resounding the Top 20 in the US and UK.
With a full year under their belts BCC are on the brink of releasing their second LP, 2 and compared to its solid but somewhat tentative predecessor the new sounds altogether tighter, darker and much much heavier.
Glenn Hughes nods in agreement… “In the short time that we’ve been together we’ve actually bonded as friends. The “supergroup” thing was overused so much by the press that we wanted to establish Black COuntry Communion as our brand, that’s a lot more important than the supergroup tag!”
One of the most striking elements of the new BCC album is Hughes’ bass sound, which is much deeper and more rounded than the brighter tone he used on the first BCC album. “You’re the first person in the UK to ask me about that! We Rolled on a lot more bottom end this time. I played the same style but used this new bass sound to enhance the low-end because we felt it was the appropriate bass sound for this album. My bass is still my favorite Bill Nash 57-P, but we just wanted a different sound. At first I was unsure but now I know that we did the right thing. I’ve been with Laney for a year now and they are making what I think is an amazing tube amp (The Nexus-Tube series. Ed.) I think that this Laney is the sound I need for my sort of music. I need my bass to sound organic as possible and as tube sounding as possible, I need it sound like it was back when I had my old Hi-Watts. I need that sound, it is the signature Glenn sound.”
Bearing in mind that Glenn Hughes has pretty much been there, done it and got the rocking’ T-shirt insofar as he has been performing in top flight band for four decades, how does he keep himself fit?
“I warm up and do my stretches and stuff, I think that it’s very important to prepare. For me, the warm up is very important. I always like to do a warm up before sound check and then I don’t eat a lot before I sing, I don’t drink a lot, just a little lemon and honey and I’m good to go. I try to get eight hours sleep every night. They say that you don’t need so much sleep as you get older but I gotta get eight hours, whether it’s on the tour bus or at home. If I don’t get enough sleep I’m not gonna be able to hit the notes that I want to hit, so sleep rules! I really believe in taking care of one’s self. I’ve been blessed that I don’t drink or smoke. That’s really helped me.”
It’s no secret that despite his great success Glenn Hughes has endured his fair share of ups and downs, emerging as the relaxed and focused individual chatting happily to Playmusic today. Any tips for younger – or older – musicians reading this who yearn to follow in his footsteps?
“If you want to succeed in this industry you’ve got to have a desire like no other!” Hughes says, sagely. “If you go to college for six years you’ve got to finish the course, you know? This is like being at college, you’ve got to have the will and desire to have the best possible training and best possible incentive to continue. I would also add that you need to be very careful as far as drug culture. Drug addiction is a sneaky thing, it kind of creeps up. It’s very cunning and baffling and before you know it you are caught up in this dark side, which i was. I was very fortunate to have the ability to stop. Let’s just say that Lemmy and Keith Richards – who until two years ago continued that lifestyle – were able to work on that and more power to them. Lemmy is a dear friend, but for me I would advise anyone to stay away from drugs and don’t get involved with them!” PM

The son of legendary Led Zeppelin stickman John Bonham – who defined hard rock drumming and the hard-living lifestyle before his death in 1980 – has forged a formidable reputation of his own since following in his father’s foot-stomping footsteps.

He’s the drummer of choice for former Free and Bad Company frontman Paul Rogers and the only person Robert Plant, Jimmy Page and John Paul Jones wanted to fill Bonzo’s seat when Zeppelin reformed at London 02 arena.

He was also the first man to whom blues rock guitar phenomenon Joe Bonamassa and Deep Purple’s bass player and vocalist Glenn Hughes turned when they formed BCC in 2009.

His Jason Bonham Led Zeppelin Experience project – which he hopes to bring to the UK in December – has raised his profile.

Yet , while his plaudit-winning display at the O2 gig and a rapturously-received BCC date in his home town Wolverhampton have given him a taste of success in Britain, he remains a relative unknown this side of the Atlantic.

That could change with BCC’s second album, 2, and a tour, which begins at Llandudno’s Venue Cymru Arena in July.

“I’ve never had any real success in my own country and it just feels nice now to have some credibility in the UK,” said the 44-year-old.

“The hardest thing is being the son of one of the most influential drummers of all time. You are never going to get away from it.

“John Bonham was as important to the drumming world as John Lennon was to the music world. He was an icon. When you say Lennon you think of John rather than Julian, it’s the same when you think of Bonham.

“A lot of people don’t get it until they come and see me. There’s a lot more to me than just being John’s kid. Hopefully, with the way the album sounds and touring with the different projects I can show people what I’m about and what I can do.”

He enjoyed making the second album, which took a little longer than the first.

He said: “We had double the time this time. The last album was completed in four days. This one was 10 days with weekends off.

“We felt more of a band this time, it really was a group effort. We don’t like doing anything too long. it adds to the magic of it that we are not sitting around with anything for a long period of time.

“There’s one track in particular that started off with an idea I had when I was playing with Jimmy and John Paul. I had a recording of them playing this riff that ended up being on this album.”

And the visit to North Wales will be a trip back to his childhood.

He added: “I spent a lot of time in North Wales growing up, particularly Machynlleth. The mayoress was a good friend of the family. I used to race dirt bikes there. The Welsh have a very warm place in my heart and I’m looking forward to being out there.”

http://www.dailypost.co.uk/leisure/entertainment-news/2011/05/27/black-country-communion-tour-heads-to-venue-cymru-55578-28775570/

Speaking to the Toronto Sun he revealed “There’s a song that started off as an idea that I worked on with (them), so I was happy to finish it off with this band and have it come out, It’s called Save Me. You’ll notice it in the riff. You’ll hear a slight Zepesque riff … it’s got a definite feel to it.”

A few years ago Jason Bonham, the son of late Led Zeppelin drummer John Bonham, was working with the band for several months after the band’s reunion concert in London, however things didn’t happen after singer Robert Plant decided not to join them. “I was very much under the illusion that we were going to write an album and we were going to put together a new project,” he said about working with his father’s band, “It was winter, like early December of 2008 when it kind of came to a halt, which was a hard thing for me to get over for a while. I had just played the concert of my life.”

His Black Country Communion bandmate, Glenn Hughes, has also distanced himself from the rumours and possibilities of a Deep Purple MK III reunion with David Coverdale, Richie Blackmore, Jon Lord and Ian Paice stating on his Facebook page, “I get asked the same question about Deep Purple in every interview. But I’m all about the present, not the past. Black Country Communion is now – and David is the only member of MkIII who has remained a true brother all through the years and stood by me.”

BLACK COUNTRY COMMUNION, the Anglo-American rock supergroup featuring the talents of bassist/vocalist Glenn Hughes (DEEP PURPLE,TRAPEZE, BLACK SABBATH), blues rock guitarist/vocalist Joe Bonamassa, drummer Jason Bonham (LED ZEPPELIN), and keyboardist Derek Sherinian (DREAM THEATER), will perform at this year’s edition of Classic Rock magazine’s award-winning High Voltagefestival, set to take place Saturday, July 23 and Sunday, July 24, 2011 in Victoria Park, London, England.

Hughes recently participated in a question-and-answer session with the festival organizers, fielding questions from fans around the world as well as the organizers themselves. Check out the resulting footage below.

BLACK COUNTRY COMMUNION will release its second album, simply entitled “2″, in Europe on June 13 via Mascot Records and in the U.S. on June 14, 2011 through the J&R Adventures label.

On June 9, the band will kick off a U.S. summer tour in San Diego, California. It will take them across the country with stops in Anaheim, California; Salt Lake City, Utah; St. Louis, Missouri; Indianapolis, Indiana; Hampton Beach, New Hampshire; Sayreville, New Jersey; and Washington, D.C.

The self-titled debut album from BLACK COUNTRY COMMUNION sold 7,100 copies in the United States in its first week of release to debut at position No. 54 on The Billboard 200 chart.

Click Below To Watch The Video

Glenn Hughes Q&A Video

http://www.roadrunnerrecords.com/blabbermouth.net/news.aspx?mode=Article&newsitemID=157129

June 9th- San Diego, CA

http://www.ticketmaster.com/event/0A004651F88B3267?artistid=1560226&majorcatid=10001&minorcatid=1

June 10th- Anaheim, CA

http://www.ticketmaster.com/event/09004652FC0A903E?artistid=1560226&majorcatid=10001&minorcatid=1

Grand Prize Winner: Antwon Childress

Signed BCC Vinyl

Black Country Communion Album

Dunlop Joe Bonamassa signature Fuzz Face Pedal

Marshall MAC100c

Gibson Joe Bonamassa Signature Epiphone Guitar

Digi Tech Synth Bass Wah

Relix Magazine Prize Package

Official T-Shirt

A Year Supply of Ernie Ball Guitar Strings and an Ernie Ball JB Signature guitar strap

2nd prize: Mrs. Parin

Black Country Communion Album

Official Logo T-Shirt

BCC Vinyl

A box of Ernie Ball guitar strings

3rd prize: Sam Halen

Black Country Communion Official Album

Ernie Ball Hat and T-Shirt

Guitar Center $100 Gift Card

The four piece rock band comprised of Joe Bonamassa (guitar, vocals), Jason Bonham (drums), Glenn Hughes (vocals, bass) and Derek Sherinian (keyboards), play Leeds O2 Academy (Tuesday 26th July), Newcastle O2 Academy (Wednesday 27th July), Glasgow O2 Academy (Friday 29th July) and Manchester Academy (Saturday 30th July).

A special ticket pre-sale will be available to O2 Academy Priority subscribers from Wednesday 2nd February at 9am. To become an O2 Academy Priority customer please register at www.o2blueroom.co.uk. Tickets will then go on sale to the general public from 9am GMT on Friday 4th February.

http://www.tightbutloose.co.uk/tblweb09/?p=8795

Here is the link to register- http://www.metalstorm.net/users/register.php

Here is the link for the voting page- http://www.metalstorm.net/awards/categories.php?cat_id=10

High Voltage: BCC and Tull confirmed!

Black Country Communion, Jethro Tull, Spock’s Beard, Caravan and Mostly Autumn have been added to the bill of Classic Rock’s award-winning High Voltage Festival, which takes place at Victoria Park in East London on July 23-24.

Now into its second year, HV won the Best Festival Award (15,000-39,999 capacity) in the Live UK Music Business Awards and was voted the Festival Of 2010 by Planet Rock Radio listeners.

In 2011 we’re making things better still with the introduction of a ticket deposit scheme which spreads the cost of a ticket over two payments. General Admission and WIP weekend tickets can be purchased with an initial ₤50 deposit plus booking fee, with the final payment due on June 1. For more info go to www.highvoltagefestival.com/tickets/deposit-scheme

The above artists join previously announced headliners Judas Priest (whose farewell spot will close the show on Saturday night) and Dream Theater. The latter have begun recording a new album with guitarist John Petrucci acting as producer. It will be their first album without Mike Portnoy, who quit DT recently.

Black Country Communion are recording their second album with producer Kevin Shirley, which will be available in time for the HV show. “We’re all super-stoked to appear” says Hughes. “This year’s HV will be a rock’n'roll extravaganza, which suits us just fine.”

Admission to the High Voltage Festival is ₤99 for a weekend ticket and ₤56.50 for a day tickets, subject to booking fee. VIP tickets will be available at ₤105 for the day ₤199 for the weekend, subject to booking fee. There will also be various VIP and hotel packages available, at various price levels to suit different pockets.

If you fancy being a very important guest at High Voltage, we have 10 pairs of special VIP tickets up for grabs this month. Click your way over to www.classicrockmagazine.com to enter. Regular festival updates and ticket details can be found at www.highvoltagefestival.com Other outlets include Ticketmaster (0844 847 1708) and HMV tickets (08448 222602)

BCC are a band with brilliant background in music, they are not one of those bands that are fresh out of school, but have their roots in the kind of music that my father made sure I listened to as a child, the likes of Black Sabbath, Deep Purple and Alice Cooper to name a few. It is not surprising then for me to say that the self titled album, which I’m still listening to as I write, is an interesting album for me. There is a certain nostalgic feel for me, but it cannot be denied that the music of BCC is something new for modern music.

There are, throughout the album, tinges of that distinctly 70’s and 80’s sound that is arguably unavoidable considering their backgrounds, but it is beautifully broken up by the blues elements that I believe Joe Bonamassa brings to the table. It is however the vocals of Glenn Hughes and Joe Bonamassa that, for me anyway, give the band a killer sound. Though it must be said I can’t listen to Glenn without thinking back to the Deep Purple and Black Sabbath records that were played to me.

Individually the members of BCC are arguably brilliant musicians, but what really makes the band what they are, is simply the way they work so well together. Nothing about the album seems forced. With obvious reasons you can still hear where their roots are, but it all melds together rather seamlessly.

By no means are Black Country Communion a band for everyone. I would not expect those without even a background in classic rock to take to BCC, but I don’t think this a bad thing at all. BCC bring back that classic sound with a new twist, perfect for anyone feeling disillusioned by some music that’s popular today. I would suggest that you at least give them a listen and make your mind up for yourself, hopefully you will be pleasantly surprised, as was I.

For fans of Joe Bonamassa, his new album Dust Bowl will be released in the UK on March 21st, and Black Country Communion are in the studio working on their second album which is due for a summer release.

Written by Harriet Jones

http://www.exit-music.co.uk/2011/01/black-country-communion/